British Cinematographer

British Cinematographer British Cinematographer is Europe's No.1 magazine covering the art and craft of international cinema

This flagship title is endorsed by the British Society of Cinematographers, the Guild of British Camera Technicians, and IMAGO - the Federation of European Cinematographic Societies whose combined membership are one the most influential in cinematography today. With powerful technological and economic forces driving the production industry like never before, cinematography is perhaps in the bigges

t state of flux for a 100 years. British Cinematographer – Europe’s No.1 cinematography magazine, with a growing worldwide audience – reflects the dynamism of the times. Encompassing the beauty of tradition, as well as the shock of the new, we focus on the art and craft of cinematographers, and the technologies they use during production and post production.

“Archive footage inspired the compositions and point of view. We wanted an exploratory lens but also a certain objectivi...
05/06/2026

“Archive footage inspired the compositions and point of view. We wanted an exploratory lens but also a certain objectivity.

“When you’re dealing with war, there’s an objectivity that makes it colder than it should be. And perhaps that’s a commentary on war itself.”

Jamie D. Ramsay BSC SASC mixed documentary-inspired footage with archive imagery to convey tension when retelling the incredible true story of the 72 hours before D-Day when the unpredictability of weather and one meteorologist’s forecast could have changed the course of history.

Read more: https://britishcinematographer.co.uk/jamie-d-ramsay-sasc-bsc-pressure/

This week, we were invited to Cooke Optics’ Fitzrovia offices as the company unveiled its new AP3 anamorphic lenses, ext...
05/06/2026

This week, we were invited to Cooke Optics’ Fitzrovia offices as the company unveiled its new AP3 anamorphic lenses, extending the SP3 lineage into the mirrorless era.

Designed for owner-operators, the compact trio combines classic Panchro-inspired coatings with modern versatility, offering the renowned "Cooke look" in a lightweight, adaptable form for contemporary digital cinematography today globally.

Did you stop by the event? What did you think? 💬

Directed by Marc Munden and written by Jack Thorne, the shoot for BBC series Lord of the Flies was physically demanding ...
04/06/2026

Directed by Marc Munden and written by Jack Thorne, the shoot for BBC series Lord of the Flies was physically demanding from day one, as cinematographer Mark Wolf BSC tells British Cinematographer – with the crew having to overcome constant torrential rain, massive winds, trees falling down, lightning and thunder, and storms at sea.

Choosing the durable Sony - Professional Europe VENICE 2 in RIALTO mode for its ease of handling, he explains why the camera was a critical pick. “I knew there was going to be a lot of handheld work, and all the boys are up to my chest — I’d have the camera on my shoulder and probably be crawling around on my knees most of the time,” he says.

To find out more about how Wolf’s Sony VENICE 2 set-up helped him to tackle monsoon season in Malaysia, with a cast of minors to boot, head to: https://britishcinematographer.co.uk/mark-wolf-bsc-lord-of-the-flies/

"We didn’t have time to overthink our decisions or shoot every conceivable shot. We had to trust our instincts and shoot...
03/06/2026

"We didn’t have time to overthink our decisions or shoot every conceivable shot. We had to trust our instincts and shoot for the edit. Otherwise, we wouldn’t hit the deadline. It taught me to prioritise story over everything. An important lesson to learn as an independent filmmaker."

Writer and director Kevin Walls’ debut feature, Premature, is a contemporary romantic comedy following flatmates Cameron (James Rottger) and Eilidh (Elle Watson) after their drunken one-night stand results in an unexpected pregnancy.

Walls discusses his approach to shooting and lighting one of the film’s key locations: https://britishcinematographer.co.uk/kevin-walls-premature/

"Dynamo is a story of two worlds, and the visual language is distinctly separated between them. The first, Jack’s escape...
02/06/2026

"Dynamo is a story of two worlds, and the visual language is distinctly separated between them. The first, Jack’s escape from Dunkirk, and the second, his struggle to adapt back to civilian life in the years following the war.

"For the Dunkirk sequences, I took inspiration from the work of Sgt. Richard Taylor, the WWII cameraman who shot footage of the D-Day landings on Omaha Beach. I shot exclusively from the shoulder, and the operating is rough, reactive. I wanted viewers to feel as if they are scrabbling around on the sand with them; we’re deprived of the safety of being a neutral observer."

Charlie Painter runs through his approach to lensing Second World War film Operation Dynamo – with which he has a very close connection.

Read more: https://britishcinematographer.co.uk/charlie-painter-operation-dynamo/

30/05/2026

John Travolta's directorial debut Propeller One-Way Night Coach has arrived on Apple TV! At Festival de Cannes, we sat down with the movie's DP, Paul de Lumen, to ask him some Quick-Fire Questions - from his favourite film to his favourite on-set memory...

Keep an eye out for our full Cannes Film Festival review in our July/August issue!

“We noticed several of the glossy romantic comedies we wanted to avoid had been filmed anamorphically,” explains Rachel ...
29/05/2026

“We noticed several of the glossy romantic comedies we wanted to avoid had been filmed anamorphically,” explains Rachel Clark BSC of her approach to lensing Finding Emily in a grounded, tactile way. “Shooting on film was ruled out early on, so we opted very happily for a digital workflow.”

That digital workflow centred around the adaptable Sony - Professional Europe VENICE 2, an “instinctual” camera choice which allowed Clark and director Alicia MacDonald to capture the vibrant energy of student life in Manchester and the city’s distinctive atmosphere, music and culture with ease.

Read more about Finding Emily – and Clark’s VENICE 2-led workflow: https://britishcinematographer.co.uk/rachel-clark-bsc-finding-emily/

You don't often see Cooke S8/i glass come to auction.At Hickman Shearer's upcoming premium Broadcast and Photography auc...
27/05/2026

You don't often see Cooke S8/i glass come to auction.

At Hickman Shearer's upcoming premium Broadcast and Photography auction, Lot 166 is a complete six-lens LPL set (25, 32, 40, 50, 75 and 100mm), all T1.4, manufactured 2022. Ex-rental, sold with a flight case, available for inspection before bidding closes.

Also available out of the 500 plus lots:

JDC Xtal Xpress anamorphics (35–100mm)

Zero-hour Sony FS5 II

Sony PMW-F55 for those building or rounding out a kit.

Bidding closes 10am next Tuesday 2nd June. View the full catalogue here:
https://hickmanshearer.auction.net/auctions/catalog/id/197

This is a sponsored post in partnership with Hickman Shearer.

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